DOCSLIB.ORG

The Federal Theatre Project: a Case Study Barry B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cambridge University Press 978-0-521-82259-6 - The Federal Theatre Project: A Case Study Barry B. Witham Index More information Index Abel, Don 11–13, 34, 56, 93, 97, 110 “blue blouses” 169 Lysistrata closing 72, 73, 163 Boettiger, Anna Roosevelt 17–18, 57, 93, 106, 153 showboat campaign 18 Boettiger, John 17 Acropolis 54; photograph of model 54 Bonneville Power Authority 80 agent-cashier 111 Booker, Doris 101 Ah, Wilderness! 137, 147 Bosworth, Francis 122 Altars of Steel 105 Bradbury, Florence 43 American Legion 45 Brer Rabbit and the Tar Baby 94; photograph Anderson, Clinton 139 of 95 Androcles and the Lion 58, 61, 92, 96 Bridges, Harry 17, 71, 127 Annals of the New York Stage 51 Brief Candle 74 Anthony, Bill 43 Brooks, James F. 130 Ardella, the singing parrot 48 Brown, Gilbert 120, 157 Arena 35, 109, 147, 150 Brown, Gilmore 21, 22, 27, 61 Arent, Arthur 80, 107 Brown, Lorraine 135 ASTR (American Society for Theatre Brown, Theodore 62, 68, 72, 75, 156 Research) 60 Bryn Mawr 92 audience surveys 4 Bucket Boy 99 auditions 33 Bulletin (King County Medical Society) 115, 120 Bailey-Gatzaert School 45 Baker, George Pierce 2, 22, 24 Can You Hear Their Voices? 2, 78 Baker, Jacob 27, 31 Canwell Committee 62, 155 Bankhead, Tallulah 18 Carnegie Foundation 22 Baron Knights 46; photograph of 47 Carnegie Tech 22 Bay, Howard 107 Carroll, David 157 Beck, Dave 17, 71, 81, 127 Catholic Centenary Committee 142 Berner, Richard 107, 113 Censorship 105 Bettinger, Barbara 157 Chambers, Whittaker 78 Big White Fog 1, 153, 174 Chandler, Ben 68 Biggs, Howard 61, 62, 99, 101, 119, 148, 156 Chapman, Horace 12 Black Empire 61, 94, 96 Children’s Theatre 92–96, 156 “black out” comedians 33 Christopher Columbus 114, 119 “Blackrobes” 139, 144 Cicognani, Amleto Giovanni 144 Blackstone Theatre 113 CIO 126 Blanchet, Father 140 City Light of Seattle 80–84 185 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82259-6 - The Federal Theatre Project: A Case Study Barry B. Witham Index More information 186 INDEX City of Bremerton 9, 11; photograph of 9 Elliott, Eugene 52 Civilian Conservation Corps (CCC) 5, 35–36, Emperor Jones 106 37–43 Ethiopia 3, 105 CCC Camps: Elma 39 Evening With Dunbar, An 19, 61, 96, 97–103; Ginko 41 photograph of 102 Gold Creek 41 Icicle 41 Farley, Jim 17 Lower Cispus 39 Farnsworth, William P. 48, 72, 139 Millersylvania 40 Federal One 2, 13–17, 19, 29 Narada 38 Federal Theatre Magazine 166 Ohanapecosh 38 Fink, Georgia 124, 131 Rainier 39 Fishbein, Frieda 125, 134 Sand Point 45 Fisher Body Plant 126 Tahoma 38 “Fists Upon a Star” 84 Taneum 41 Flanagan, Hallie 2, 11, 23, 24, 29, 34, 35, 78, 87 Clark, Barrett 22, 63 on touring 9–11 Cleveland Play House 21, 78 field visits 31, 57 Clifford, Margaret 2, 78 on George Hood 89 The Clown Prince 93 letter from Savage 133 Coburn, Charles 27 Negro Company 61 Collier, Nina 138 new plays 122 Communism 130, 154 plan for a national theatre 150 Communist Party 16, 154 reaction to Hughes’s plan 26 Conkle, E.P. 10 on regional work 138 Conway, John 55 on Seattle project 91 Cornish College 31, 70 on See How They Run 129 Cornish, Nellie 62 on Spirochete 120 Costigan, Howard 16–18, 19, 154 tension with Hughes 53, 58 Coulee Dam 81 on theatre models 53, 58 The Cradle Will Rock 1, 84, 127, 129 Flathead Indians 144 Craig, Gordon 21, 23, 164 Flight 96; photograph of 112 Crothers, Rachel 8 Flotilla of Faith 140, 142–147, 155; photograph The Curtain Goes Up 46 of 146 For the Good of the Team 46 De Casta, Leon 8 Forgotten Men 165 Deeter, Jasper 21, 27 Forbus, Lady Willie 93–97 Demers, Father 140 Fort, Syvilla 46, 166; photograph of 47 Department of Agriculture 37 Fortune Theatre 54 Dewson, Mary 17 Fraden, Rena 170 Dies Committee 129, 130 Dies, Martin 5, 131 Gannon, George 34 Dionysus (Theatre of ) 54; photograph of Garbage Hustler 172 model 54 General Motors 126 Dirkson, Everett 5, 17 George Mason University 135 Dore, John 81 Georgetown Hospital 45 The Dragon’s Wishbone 62, 138, 147 Gill, Thomas 147 Drama League 22 Gillmore, Frank 151 Dramatists Guild 122 Glyer, Richard 116, 119, 148 Du Bois, W.E.B. 98 Graham, Jimmy 44 Dunbar, Paul Laurence 97–103 Grant, Howard 51, 56 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82259-6 - The Federal Theatre Project: A Case Study Barry B. Witham Index More information INDEX 187 Green Pastures 138–139 Jackson, Joseph 66 Green, Paul 21 Jackson, Sara; see Oliver Group Theatre 21 James, Burton 30, 62–65, 154 Grove, Sirless 101 James, Florence 30, 62–65, 76, 82, 84, 87 directing Power 80–86 Harper, Sandy 46 on relevant theatre 153 Hartman, Johnny 99 John Henry 76 Hearst, William Randolph 17 Johnny Johnson 106 Heavens to Betsy 46 Johnson, Evamarii 67, 94, 99, 103 “Heavy ol’ Hammer” 99, 103 Hedgerow Theatre 21, 78 Keith-Orpheum vaudeville 33 Help Yourself 4, 91, 106 Kelso, Wallace 11, 12, 111 Heussy, Charlotte 93 King County Medical Society 114, 115, 116 Hewitt, Barnard 138 Klamath Falls Herald 140 Hicken, James 55, 58 Knights of Columbus 114 Hill Billies 43; photograph of 42 Koch, Frederick 21, 27 History of Seattle Stock Companies from their Kondolf, George 10 Beginning to 1934 52 Kruger, Loren 6, 174 History of Variety-Vaudeville in Seattle 52 Lancaster, Burt 48 Holt, Rush 5 Lane, Esther Porter; see Esther Porter Hood, George 58, 66, 88, 91, 96, 97, 110 Langner, Lawrence 136, 172 “Hoovervilles” 107 Lang, Lester 55 Hopkins, Harry 2, 13–15, 27, 61, 72, 73 Lee, Robert 131 House Appropriations Committee 18 Legion of Decency 140 Houseman, John 84 Leitch, Toby 44, 48 Housing Authority (Seattle) 107, 108, 113 Lewis, John L. 126 Howard, Edward D. 144 Lewis, Lloyd 122–124 HUAC (House Committee on Un-American Lewis, Richard 99 Activities) 15 Lewis, Sinclair 3 Hudson Bay Company 140, 143 Lilienthal, David 79 Hudson Shore Labor School 92 Linderman, Frank 138 Huffman, Hazel 130 Living Newspapers 50, 78–79, 105 Hughes, Glenn 11, 12, 21, 23, 27, 29, 31, 51, 58, Lockridge, Richard 122–124, 128, 136 62, 74 Losey, Joseph 105 audience identification 154 Lysistrata 11, 61, 62, 72–74, 163 as businessman 49–50 establishing Seattle unit 27–29 Mabie, E.C. 21, 22, 24, 27, 30 interest in research project 52 Macgowan, Kenneth 22 plan for a federal theatre 24–26 Makah Nation 141 on Seattle Repertory Playhouse 63 Mathews, Jane 10 tension with Flanagan 53, 58 McClure, Bruce 31 Hyde Park 150 McConnell, Frederic 21, 22 McGee, John 10, 27 ILA (International Longshoreman’s McGinnis, Marion 167 Association) 17, 71 McKeen, William 83 In Abraham’s Bosom 61, 64, 65, 66 McKinnell, Eloise 93 In Dahomey 98 McLoughlin, John 142 Isaacs, Edith 22 Metcalf, George 43 It Can’t Happen Here 3, 61, 62, 75 Metropolitan Theatre 119, 137 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82259-6 - The Federal Theatre Project: A Case Study Barry B. Witham Index More information 188 INDEX Miller, J. Howard 11, 40, 56, 59, 72, 73 Oliver, W.E. (Bill) 122–124 Minstrel shows 36–37 Olympia, Washington 51 Model Theatres 59; photographs of 54 O’Neil, Edward 44 Monroe Reformatory 47 One-Third of a Nation 8, 19, 106, 107–113, Morgan, Arthur 79 130 Morgan, Blanche 103 Orange Theatre 55; photograph of model Morris, Lawrence 48 54 Mother Goose 92, 96 Ottenheimer, Albert 67, 70 Mother Goose is on the Loose 46 Motherwell, Hiram 92 Pacific Northwest Quarterly (The) 52 (MPTONW) Motion Picture Theatre pageants 138 Operators of the Northwest 34–35 Pantages Circuit 33 Murphy, Frank 127 Parker, Dorothy 23 Parker, H.J. (Mrs.) 93 Nathan, George Jean 4 Parron, Thomas 113, 115 NAACP (National Association for the The Party 100 Advancement of Colored People) 98 Pasadena Playhouse 21 National Forest Service 37 Peer Gynt 64 National Guard Armory 45 Penthouse Theatre 25, 49, 55 National Housing Act 107 Pfeil, Harry 43, 93 National Recreation Association 36 Plan for a Government Supported Theatre National Service Bureau 50, 150 150–152 National Theatre Conference 22–23, 24, 59, Play Policy Bureau 122 164 Playwriting Contest 122–124 National Youth Administration 101, 171 Pope Pius XII 140 Natural Man 19, 61, 62, 75–77 Porgy 66, 67 Negro Company 61–77, 92–104, 130, 155, 156 Porgy and Bess 67 Ness, Ole 58, 59, 96, 109, 110, 133, 147 Port Townsend, Washington 51 Nez Perce 144 Porter, Esther 15, 89, 92–97, 108, 109, 111, Noah 61, 67, 68–70 116 Northwest Progress 147 Post-Intelligencer, Seattle 17, 19 Northwestern University 22 Powell, Robert Hare 74 Power 1, 8, 79–87, 126, 154 Oakland Federal Theatre 129 Power, Fran 47, 72, 96, 111, 170 Obey, Andre 67 Price, Nellie 68 O’Connell, J. 141 Prologue to Glory 10 O’Connell, William 147 Puget Power Company 80, 87 O’Connor, Edwin 15, 58, 59, 92, 97, 100, 106 employee drinking 137 Quinalt Nation 141 hears charges of usury 111 One-Third of a Nation 109 Rainier Valley 91, 100 pageants 141 research project 50–53, 58 relationship with Hood 110 Reuther, Walter 126 See How They Run 129 Revue 37, 43–48 Spirochete 116, 120 Rice, Elmer 3, 22 “Old Ignace” 144 Robbins, William 147 Oliver, Sara 61, 64, 68, 75, 76, 101; photograph Robin Hood Theatre 92 of 95 Rohrer, Mary 52 Brer Rabbit and the Tar Baby 95 Roosevelt, Eleanor 130, 153 on acting 70 Roosevelt, Franklin Delano 140, 150 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82259-6 - The Federal Theatre Project: A Case Study Barry B.
Recommended publications
  • Heyward, Dorothy Papers, 180.00

    Heyward, Dorothy Papers, 180.00

    Dorothy Heyward papers, ca. 1850-1976 (bulk 1918-1961) SCHS 180.00 Creator: Heyward, Dorothy, 1890-1961. Description: 18 linear ft. Biographical/Historical note: Playwright and novelist. The daughter of Herman Luyties Kuhns (b. 1855) and Dora Virginia Hartzell, Dorothy Hartzell Kuhns was born in Wooster, Ohio. Dorothy studied playwrighting at Harvard University, and as a fellow of George Pierce Baker's Workshop 47 she spent a summer's residency at the MacDowell Colony, an artists' retreat in New Hampshire, where she met South Carolina author DuBose Heyward (1885-1940). They married in September 1923. Their only child was Jenifer DuBose Heyward (later Mrs. Jenifer Wood, 1930-1984), who became a ballet dancer and made her home in New York, N.Y. Dorothy collaborated with her husband to produce a dramatic version of his novel "Porgy." The play became the libretto for the opera "Porgy & Bess" (first produced in 1935) by DuBose Heyward and George and Ira Gershwin. She also collaborated with her husband to produce "Mamba's Daughters," a play based on DuBose Heyward's novel by the same name. In 1940 Dorothy Heyward succeeded her late husband as the resident dramatist at the Dock Street Theater (Charleston, S.C.). In the years following his death she continued to write and published a number of works including the plays "South Pacific" (1943) and "Set My People Free" (1948, the story of the Denmark Vesey slave insurrection), as well as the libretto for the children's opera "Babar the Elephant" (1953). Earlier works by Dorothy Heyward include the plays "Love in a Cupboard" (1925), "Jonica" (1930), and "Cinderelative" (1930, in collaboration with Dorothy DeJagers), and the novels "Three-a-Day" (1930) and "The Pulitzer Prize Murders" (1932).
  • GERSHWIN Porgy and Bess

    GERSHWIN Porgy and Bess

    110287-88 bk Porgy US 14/07/2004 10:31am Page 12 Great Opera Recordings ADD 8.110287-88 Also available: GERSHWIN 2 CDs Porgy and Bess Winters • Williams • Matthews • Long • Coleman Orchestra and Chorus • Lehman Engel (Recorded 1951) 8.110219-20 8.110287-88 12 110287-88 bk Porgy US 14/07/2004 10:31am Page 2 Great Opera Recordings Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of George specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been GERSHWIN nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. (1898 – 1937) He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His Porgy and Bess philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard Opera in Three Acts with the greatest clarity. Lyrics by DuBose Heyward and Ira Gershwin There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Libretto by DuBose Heyward piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and consistently achieves better results than restoration engineers working with the metal parts from the archives of the Porgy .
  • Spring 2007 ◆ Volume 51 ◆ No

    Spring 2007 ◆ Volume 51 ◆ No

    Preservation FOR THE PRESERVATION SOCIETY OF CHARLESTON Spring 2007 ◆ Volume 51 ◆ No. 1 Inside... ◆ 2006 Carolopolis Awards p. 3 ◆ New Board Members p. 11 ◆ Gershwin in Charleston p. 13 ◆ The Karpeles Surprise p. 14 Pictured Carolopolis Winner: The Old Exchange Building Photograph by Rick Rhodes Preserving the Past for the Future 2 Preservation PROGRESS c c LETTER FROM THE EXECUTIVE DIRECTOR 2007 Board of Directors & Advisors Cynthia Cole Jenkins EXECUTIVE COMMITTEE Steven Craig, President Robert Prioleau Sr., First Vice President Lois Lane, Second Vice President Shay Evans, Recording Secretary P. Steven Dopp, Treasurer Glenn F. Keyes, Immediate Past President MEMBERS OF THE BOARD William J. Cook Debbie Bordeaux Susan G. Dickson Kevin Eberle Rebecca Herres Jane Locke Diane McCall Caroline Ragsdale Sally Smith George Smythe Steven P. Stewart Jim Wigley Connie Wyrick ADVISORS TO THE BOARD Elizabeth Jenkins Young, Executive Committee Jane Thornhill Norman Haft, Executive Committee Wilson Fullbright STAFF Cynthia Cole Jenkins, Executive Director Robert M. Gurley, Assistant Director Alix Robinson Tew, Membership & Development Director Ginger L. Scully, Director, Fall Tours & Special Programs Mary Spivey-Just, Business Manager Amelia L. Lafferty, Projects Coordinator Cynthia Setnicka, Retail Shop Manager NEWSLETTER William J. Cook, Chairman, Publications Committee J. Michael McLaughlin, Editor Amelia L. Lafferty, Newsletter & Advertising Coordinator Andrea Haseley, Layout & Design The Preservation Society of Charleston was founded in 1920 with its purpose being to cultivate and encourage interest in the preservation of buildings, sites and structures of historical or aesthetic significance and to take whatever steps may be necessary and feasible to prevent the destruction or defacement of any such building, site or structure, such purposes being soley eleemosynary and not for profit.
  • Black Theatre: Ritual Performance in the African Diaspora

    Black Theatre: Ritual Performance in the African Diaspora

    Paul Carter Harrison Praise/Word I stand myself and my art squarely on the self-defining ground of the slave quarters, and find the ground to be hallowed and made fertile by the blood and bones of the men and women who can be described as warriors on the cultural battlefield that affirmed their self-worth. As there is no idea that cannot be contained by black life, these men and women found themselves to be suffi- cient and secure in their art and their instructions. —August Wilson (1996) In 1996 Pulitzer Prize–winning playwright August Wilson dropped the gauntlet on skepticism about the validity of Black Theatre. His keynote address, “The Ground on Which I Stand,” delivered at the eleventh Biennial Theatre Communications Group National Conference at Princeton University, became the occasion for Wilson to re- mind us that the term “black or African-American not only denotes race, it denotes condition, and carries with it the vestige of slavery and the social segregation and abuse of opportunity so vivid in our memory.” And because of the unrelieved “abuse of opportunity and truncation of possibility,” it becomes imperative to alter percep- tions of self by jettisoning the aesthetic models of Western tradition that have forged such perceptions of blackness. These models must be replaced by the “spiritual tem- perament” of the ancestors whose songs, dances, and art were a manifest act of the “creator from whom life flowed,” thereby placing the craftsman at the “spiritual cen- ter of his existence.” Wilson’s declaration could easily be misconstrued as a mere reaction to oppression, when in fact it is a testamental reflection on the goal of contemporary Black Theatre artists to identify and retrieve African traditions from the American social landscape.
  • Porgy and Bess

    Porgy and Bess

    PORGY AND BESS by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin Directed by Charles Newell Music Direction by Doug Peck Artistic Consultant Ron OJ Parson May 12 – July 3, 2011 at Court Theatre Kittiwah Island, looking for Bess. All of a sudden, Clara spies the overturned fishing boat of her husband Jake outside the window. Fearing for his life, Clara hands her infant baby to Bess and throws herself out the door into the storm. Bess begs for one of the men to follow her; Crown volunteers, but only after taunting Porgy, who is unable to go. The next day, the deaths of Jake and Clara are mourned by the residents of Catfish Row. The care of their baby has fallen to Bess, who sings him a lullaby. After night falls, Crown returns to seize Bess, but Porgy is waiting there to stop him. They fight, and Porgy kills Crown, against all odds. The next day, the local detective arrives to inquire about the murders of Crown and Robbins, and the residents collaborate to protect Porgy. The police take Porgy in anyway, ordering him to identify Crown’s body. Once he is gone, Sporting Life takes his opportunity to persuade Bess to come with him to New York, convincing her that Porgy will be imprisoned. He forces drugs on her and extols the virtues of the city. She refuses, but Sporting Life waits patiently for her to give in. A week later, Porgy returns from prison, bearing gifts he bought with the craps money he earned in jail.
  • Cabbage Row" by Charlotte Lindiwe Emoungu Submitted to the Department of Urban Studies and Planning in Partial Fulfillment of the Requirements for the Degree Of

    Cabbage Row" by Charlotte Lindiwe Emoungu Submitted to the Department of Urban Studies and Planning in Partial Fulfillment of the Requirements for the Degree Of

    Black and White Simulacra: Charleston's "Cabbage Row" by Charlotte Lindiwe Emoungu Submitted to the Department of Urban Studies and Planning in partial fulfillment of the requirements for the degree of Master in City Planning at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY February 1995 @ Massachusetts Institute of Technology 1995. All rights reserved. Author Department of Urban (tudies and Planning October 25, 1994 Certified by... Lawrence Vale Assistant Professor Thesis Supervisor Accepted by. Langley Keyes Chairman, Magte in,.City Planning Committee MAFR u 9 1995 tDtch Black and White Simulacra: Charleston's "Cabbage Row" by Charlotte Lindiwe Emoungu Submitted to the Department of Urban Studies and Planning on October 25, 1994, in partial fulfillment of the requirements for the degree of Master in City Planning Abstract "The Insider's Guide to Greater Charleston," one of the most widely accesible tourist guidebooks of architecturally restored Charleston, South Carolina distinguishes sites of African-American history from sites of general interest. "Cabbage Row," or 89-91 Church St., Charleston is noted by 'The Guide' as a site of African-American history. Of particular interest is the tour guide's descriptive passage of Cabbage Row which states: "anyone familiar with the opera [Porgy and Bess] and its stage settings will see that this place ... could easily have been the original scene [my emphasis]." Curiously, this site of African-American history refers to a fictional work. Further- more, this thesis claims that this site is intertextual. It is both a site of African- American and 'general' history. This thesis asserts, then, that the visual authenticity of this site (in both its African American and "general" historical senses), is mediated by the fictional representation of race as exemplified by the novel Porgy and the opera Porgy and Bess.
  • AMERICAN-MADE the Enduring Legacy of the WPA by Nick Taylor

    AMERICAN-MADE the Enduring Legacy of the WPA by Nick Taylor

    NEW DEAL CHRONOLOGY 1929–1946 From AMERICAN-MADE The Enduring Legacy of the WPA By Nick Taylor www.americanmadebook.com October 29, 1929: The “Black Tuesday” stock market crash that ushers in the Great Depression. November 1, 1931: New York State under Governor Franklin Delano Roosevelt establishes Temporary Emergency Relief Administration (TERA), the first state agency to provide assistance for the unemployed. January 21, 1932: FDR announces his candidacy for the Democratic nomination. March 1, 1932: Infant son of famous aviator Charles Lindbergh is kidnapped. March 7, 1932: Four killed by police in march of unemployed on Ford plant in Dearborn, Michigan. April 7, 1932: FDR “forgotten man” speech. May 26, 1932: FDR speech at Oglethorpe University calling for “bold, persistent experimentation.” June 16, 1932: Herbert Hoover nominated by Republicans as candidate for second term. July 1, 1932: Democratic National Convention in Chicago nominates FDR as party’s candidate for president. July 2, 1932: FDR breaks tradition by accepting nomination in person at convention. July 8, 1932: Dow Jones Industrials hit a low of 41.22, down 89 percent from the pre-depression peak of 381.17. July 21, 1932: President Herbert Hoover sets aside $300 million in Reconstruction Finance Corporation funds for loans to states and cities to fight unemployment. July 28, 1932: “Bonus Army” of world war veterans petitioning for immediate payment of a deferred service bonus is evicted from their camps in Washington by army troops under General Douglas MacArthur. August 11, 1932: Hoover is officially informed of his renomination as Republican presidential candidate, and accepts. November 8, 1932: Roosevelt defeats Hoover.
  • Program Notes: Porgy & Bess

    Program Notes: Porgy & Bess

    PROGRAM NOTES: PORGY & BESS World Premiere: August 20, 1882 The 5,000 bells of Moscow’s steeples — whose Most Recent HSO Performance: July 4, 2014 thunderous combined tintinnabulation was Instrumentation: 2 flutes, 1 piccolo, 2 oboes, said to make conversation impossible — were English horn, 2 clarients, 2 bassoons, 4 horns, to chime in at the work’s climax. There is no 2 cornets, 2 trumpets, 3 trombones, tuba, record, however, that this grandiose performance timpani, triangle, tambourine, side drum, ever happened. Seemingly never having heard cymbals, bass drum, bells, cannon, SATB chorus, the work, Tchaikovsky wrote to the conductor and strings: violin I, violin I, viola, violoncello, Eduard Nápravník in 1881, “Last winter, at double bass Nikolai Rubinstein’s request, I composed a Festival Duration: 16’ Overture for the concerts of the exhibition, entitled 1812. Could you possibly arrange to PETER ILYICH TCHAIKOVSKY have this played? It is not of great value, and I (Born May 7, 1840 in Votkinsk, Russia; shall not be at all surprised or hurt if you consider died November 6, 1893 in St. Petersburg) the style of the music unsuitable to a symphony concert.” Nápravník gave the apparent premiere 1812, Overture Solennelle, on August 20, 1882 in Moscow. The Overture represents the conflict — Op. 49 (1880) militarily and musically — of Russia and France, and the eventual Russian “victory” over The Russian penchant for myth-making the invaders. It opens with a dark, brooding extends, of course, to her warfare. It is therefore setting of the Russian hymn God, Preserve Thy not surprising that Napoleon’s strategic People for violas and cellos.
  • Dqily~ Th Ursday Night Albert F

    Dqily~ Th Ursday Night Albert F

    ,,0 VOtll I 'ld30 SNOlllSlneJV jCanweliSlated . ~'7or CUB I alk dQily~ Th_ursday Night Albert F. Canwell, Republi- can _candidate for Congress- man at Large, is scheduled to speak tomorrow night, Octo- VERGREEN ber 14, 8 p.m , in CUB 216, re- Number 12 ports Mrs. W. H. Veatch, pres- Vol. LXI Pullman, Wash., Wednesday, Oct. 13, 1954 ident of the Whitman County Women's Republican Club. He will be sponsored by the lYSCRepublican club, and fol- Gump Describes Sbere, Incidenl:s owing his speech Canwell will Richard Gump, famous art answer questions at an in- connoisseur, spoke at Bryan formal social hour. Coffee will Hall auditorium last night on the be served by the Whitman Coun- Letters Held topic of "Jade, Jewels, and IfCC Submits Junk." With his speech, Mr. ty Women's Republican club. Elected in 1946 Gump became the first speaker .Tn 1946, he was elected to the For Registrar of the year in the WSC Lecture Artist Series. Washington legislature. As a Do you have to wait quite a first Returns member of the legislature, he while for that letter from home? Mr. Gump is proprietor of the wrote and sponsored legislation The latest results as reported world famous "Gump's" store in If the answer is yes, chances by Bob Ha.rr ls , chairman of the creating the Washington State are your mail has been incor- San Francisco. Many varied art ,Legislative Committee on un- 'counting committee for the pieces are found in his store, rectly addressed. l American activities and served Greek Preferential Primary, late especially of an Oriental nature.
  • Norman Leonard Papers

    Norman Leonard Papers

    http://oac.cdlib.org/findaid/ark:/13030/c8np27rt No online items Finding Aid to the Norman Leonard Papers Finding aid prepared by Labor Archives and Research Center staff; edited by Megan Hickey and Liadan Ryland in 2015. Labor Archives and Research Center San Francisco State University 1630 Holloway Ave San Francisco, CA, 94132-1722 (415) 405-5571 [email protected] 1998, revised 2015 Finding Aid to the Norman larc.ms.00271985/006; 1985/029 1 Leonard Papers Title: Norman Leonard papers Date (inclusive): 1938-1980 Date (bulk): 1945-1960 Collection number: larc.ms.0027 Accession numbers: 1985/006; 1985/029 Repository: Labor Archives and Research Center J. Paul Leonard Library, Room 460 San Francisco State University 1630 Holloway Ave San Francisco, CA 94132-1722 (415) 405-5571 [email protected] Languages: Languages represented in the collection: English. Extent: 219.8 cubic ft. (525 boxes) Location: Collection is available onsite. Creator: Leonard, Norman Abstract: The files of Norman Leonard consist of legal cases brought to court by the law firm on behalf of its clients. For many years he represented the International Longshoreman's and Warehousemen's Union (ILWU) and other Congress of Industrial Organizations (CIO) unions. Over the course of his career he defended Harry Bridges, Communist Party members prosecuted under the Smith Act, conscientious objectors targeted by the Selective Service, and individuals involved in the Free Speech Movement. Publication Rights Copyright has not been assigned to the Labor Archives and Research Center. All requests for permission to publish or quote from materials must be submitted in writing to the Director of the Archives.
  • Gullah Linguistic and Literary Representations in Dubose Heyward's Porgy Charlene Eberly Florida International University

    Gullah Linguistic and Literary Representations in Dubose Heyward's Porgy Charlene Eberly Florida International University

    Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 7-20-2004 "Across the colour wall:" Gullah linguistic and literary representations in Dubose Heyward's Porgy Charlene Eberly Florida International University DOI: 10.25148/etd.FI15101261 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the African Languages and Societies Commons, and the English Language and Literature Commons Recommended Citation Eberly, Charlene, ""Across the colour wall:" Gullah linguistic and literary representations in Dubose Heyward's Porgy" (2004). FIU Electronic Theses and Dissertations. 3112. https://digitalcommons.fiu.edu/etd/3112 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida "ACROSS THE COLOUR WALL:" GULLAH LINGUISTIC AND LITERARY REPRESENTATIONS IN DUBOSE HEYWARD S PORGY A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in ENGLISH by Charlene Eberly 2004 To: Dean R. Bruce Dunlap College of Arts and Sciences This thesis, written by Charlene Eberly, and entitled "Across the Colour Wall: Gullah Linguistic and Literary Representations in DuBose He ard s Porgy, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Carmela McIntire Tometro Hopkins Heather Andrade, Major Professor Date of Defense: July 20, 2004 The thesis of Charlene Eberly is approved.
  • Albert F. Canwell: an Oral History

    Albert F. Canwell: an Oral History

    Albert F. Canwell An Oral History Interviewed by Timothy Frederick Washington State Oral History Program Office of the Secretary of State Ralph Munro, Secretary of State Washington State Oral History Program Olympia, Washington 98504 © 1997 by the Washington State Oral History Program All rights reserved. First edition 1997 Printed in the United States of America ISBN 1-889320-05-6 “Cougar and Fawn” is printed with the generous permis- sion of the author, Mary Kienholz. Washington State Oral History Program, Office of the Secretary of State, Legislative Building, PO Box 40243, Olympia, Washington 98504-0243 Telephone: (360) 902-4157 In memory of my wife Marsinah, 1914-1996. Cougar and Fawn (The Nation Imperiled) To A. F. C. Poor folded fawn, like our land lost in sleep And disbelieving dreams, you’ll never spring Awake to stealthy, soundless paws that creep Along dark limbs. Oh, sweet imaginings That wrap your world in faith! Cocooned in wings Like bats asleep in caves, you do not hear. Must you still drowse and dream of trivial things When dangers, known—though cloaked by night, are near? When warnings on the wary air are clear? God favors feet that follow forest ways— Quick! Let your swift legs leap to spurs of fear! Alone, the eagle, with a sterner gaze From charcoal boughs etched black against the sky, Sees moonlight in the stalking cougar’s eye! M. Kienholz CONTENTS Foreword Preface Acknowledgments Chronology: Albert F. Canwell 1. Family Background.......................................................................... 1 Tapes 1 - 8 2. Education ........................................................................................ 43 Tape 8 (continued) - Tape 14, Side 1 3. Early Career ..................................................................................